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By Kwame Alexander

Like lightning/you strike/fast and free/legs zoom/down field/eyes fixed/on the checkered ball/on the goal/ten yards to go/can't not anyone cease you/
can't not anyone cop you...

In this follow-up to the Newbery-winning novel THE CROSSOVER, football, kinfolk, love, and friendship, take middle degree as twelve-year-old Nick learns the facility of phrases as he wrestles with difficulties at domestic, stands as much as a bully, and attempts to provoke the woman of his desires. aiding him alongside are his ally and occasionally teammate Coby, and The Mac, a rapping librarian who offers Nick inspiring books to learn.

This electrical and heartfelt novel-in-verse by means of poet Kwame Alexander bends and breaks because it captures all of the thrills and setbacks, motion and emotion of an international Cup fit!

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39. Note the reorientation into linear subjectivity, the pure present tense, the proclamation blooming into a shameful and totalizing singularity. The tectonic shift between me and I. The final couplet of a sonnet once launched here, its corpse still identifiable, though disassembled, undone. Poetry, alien autopsy. 40. “Though” marks the most nauseating turn in this poem, gathering itself, as it does, for a kind of thesis-making, puffing hard a nothing word in rehearsed formulation of a manufactured epiphany.

Not at all! It means that the gleam continues, though changes. ” —Stéphane Mallarmé, Crise de Vers [ 46 ] Pa in Titles are but nicknames, and every nickname is a title. >> He lives immured within the Bastille of a word. >> Society in every state is a blessing, but Government, even in its best state, is but a necessary evil; in its worst state an intolerable one: for when we suffer, or are exposed to the same miseries BY A GOVERNMENT, which we might expect in a country WITHOUT GOVERNMENT, our calamity is heightened by reflecting that we furnish the means by which we suffer.

Every word in this piece occupies an optically empowered position (either at the beginning or end of a line) except for “for” (line 3) whose significance is promoted by this anomaly. 29. The most inspirational single line of the composition. [ 43 ] 30. Funny story, the nouns “disease” and “unease” (line 34) were swapped in a late draft, trading in the synthetic comfort of emblematic exchange for slight surprise. Note the apocalyptic dismissal of—yet complicity in—a language system that can only express via false equivalences.

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